Behringer V-AMPIRE LX110 User manual

Brand: Behringer

Model: V-AMPIRE LX110

Category: Audio amplifiers

Type: User manual

This manual is also suitable for

V-AMPIRE LX110

Version 1.0 February 2007

User Manual

V-AMPIRE LX110

This symbol, wherever it appears, alerts you to

the presence of uninsulated dangerous voltage

inside the enclosure—voltage that may be

sufficient to constitute a risk of shock.

This symbol, wherever it appears, alerts you to

important operating and maintenance instructions

in the accompanying literature. Please read the

manual.

IMPORTANT SAFETY INSTRUCTIONS

CAUTION: To reduce the risk of electric shock, do not remove

the top cover (or the rear section). No user serviceable

parts inside; refer servicing to qualified personnel.

WARNING: To reduce the risk of fire or electric shock, do not

expose this appliance to rain and moisture. The apparatus

shall not be exposed to dripping or splashing liquids and no

objects filled with liquids, such as vases, shall be placed

on the apparatus.

1) Read these instructions.

2) Keep these instructions.

3) Heed all warnings.

4) Follow all instructions.

5) Do not use this apparatus near water.

6) Clean only with dry cloth.

7) Do not block any ventilation openings. Install in

accordance with the manufacturer’s instructions.

8) Do not install near any heat sources such as radiators,

heat registers, stoves, or other apparatus (including

amplifiers) that produce heat.

9) Do not defeat the safety purpose of the polarized or

grounding-type plug. A polarized plug has two blades

with one wider than the other. A grounding type plug

has two blades and a third grounding prong. The wide

blade or the third prong are provided for your safety. If

the provided plug does not fit into your outlet, consult

an electrician for replacement of the obsolete outlet.

10) Protect the power cord from being walked on or

pinched particularly at plugs, convenience receptacles,

and the point where they exit from the apparatus.

11) The apparatus shall be connected to a MAINS socket

outlet with a protective earthing connection.

12) Where the MAINS plug or an appliance coupler is

used as the disconnect device, the disconnect device

shall remain readily operable.

13) Only use attachments/accessories specified by the

manufacturer.

14) Use only with the cart, stand, tripod, bracket, or table

specified by the manufacturer, or sold with the

apparatus. When a cart is used, use caution when moving

the cart/apparatus combination to avoid injury from

tip-over.

15) Unplug this apparatus during lightning storms or

when unused for long periods of time.

16) Refer all servicing to qualified service personnel.

Servicing is required when the apparatus has been

damaged in any way, such as power supply cord or plug

is damaged, liquid has been spilled or objects have fallen

into the apparatus, the apparatus has been exposed to

rain or moisture, does not operate normally, or has been

dropped.

17) CAUTION - These service instructions are for use by

qualified service personnel only. To reduce the risk of

electric shock do not perform any servicing other than

that contained in the operation instructions.

V-AMPIRE LX110

LX110

V-AMPIRE

45-Watt Digital Modeling Guitar Amp with Original BUGERA 10" Speaker

V Powerful 45-Watt digital modeling workstation with 16 classic amp and cabinet models

V Original heavy-duty 10'' BUGERA dual-cone full-range speaker for faithful sound reproduction

V 100 memory locations—easily editable and storable

V 24-bit stereo multi-effects processor including first-class stomp box simulations

V Amp/speaker simulation, compressor, noise gate, EQ, modulation effects, delay and reverb simultaneously

or in any combination

V Awesome modulation and pitch bend effects

V Extremely low-noise instrument input ensures maximum guitar signal integrity

V Stereo RCA Auxiliary input for line-level signals (CD, soundcard, monitoring, etc.)

V Remote preset selection and tuner activation (footswitch FS112 included) and remote Wah or continuous

FX control (pedal FCV100 optional)

V Super-precise and adjustable auto-chromatic tuner

V High-quality components and exceptionally rugged construction ensure long life

V Conceived and designed by BEHRINGER Germany

V-AMPIRE LX110

TABLE OF CONTENTS

1. INTRODUCTION .........................................................5

1.1 Before you get started ................................................... 5

1.1.1 Shipment ............................................................... 5

1.1.2 Initial operation...................................................... 5

1.1.3 Online registration ................................................ 5

2. CONTROL ELEMENTS AND CONNECTORS ..............6

2.1 Front panel ...................................................................... 6

2.2 Rear panel ...................................................................... 8

3. APPLICATION EXAMPLE ...........................................8

4. PRESETS ...................................................................8

4.1 Editing presets ................................................................ 8

4.2 Restoring the factory presets........................................ 9

5. AMP/SPEAKER SIMULATION ....................................9

6. EFFECTS PROCESSOR ............................................10

6.1 Effect descriptions ....................................................... 10

6.1.1 Delay algorithms ................................................. 10

6.1.2 Modulation effects ............................................. 10

6.1.3 Special effects ................................................... 11

6.2 Reverb .......................................................................... 11

6.3 Pedal function ............................................................... 11

6.3.1 FCV100 pedal calibration ................................... 11

7. TUNER ......................................................................12

7.1 Tuning your guitar ........................................................ 12

7.2 Setting reference pitch “A” .......................................... 12

7.3 Tuner Bypass volume .................................................. 12

8. INSTALLATION .........................................................12

9. SPECIFICATIONS .....................................................13

10. APPENDIX ..............................................................14

11. WARRANTY ............................................................15

FEDERAL COMMUNICATIONS COMMISSION

COMPLIANCE INFORMATION ................................16

FOREWORD

Dear Customer,

Welcome to the team of

V-AMPIRE users, and

thank you very much for

expressing your confi-

dence in BEHRINGER by

purchasing the V-AMPIRE.

Writing this foreword for

you gives me great

pleasure, because it

represents the culmi-

nation of many months of

hard work delivered by

our engineering team to

achieve a very ambitious

goal: to present an

outstanding guitar

amplifier whose

amazing functions offer

a maximum on flexibility

and performance. The task of designing our new V-AMPIRE

certainly meant a great deal of responsibility, which we assumed

by focusing on you, the discerning user and musician. Meeting

your expectations also meant a lot of work and night shifts. But

it was fun, too. Developing a product usually brings a lot of

people together, and what a great feeling it is when all who

participated in such a project can be proud of what they’ve

achieved.

It is our philosophy to share our enjoyment with you, because

you are the most important member of the BEHRINGER team.

With your highly competent suggestions for new products you’ve

made a significant contribution to shaping our company and making

it successful. In return, we guarantee you uncompromising quality

as well as excellent technical and audio properties at an extremely

reasonable price. All of this will let you give free rein to your

creativity without being hampered by budget constraints.

We are often asked how we manage to produce such high-

quality equipment at such unbelievably low prices. The answer

is quite simple: it’s you, our customers! Many satisfied customers

mean large sales volumes enabling us to get better purchasing

terms for components, etc. Isn’t it only fair to pass these benefits

on to you? Because we know that your success is our success

too!

I would like to thank all of you who have made the V-AMPIRE

possible. You have all made your own personal contributions,

from the developers and the many other employees at this

company to you, the BEHRINGER user.

My friends, it’s been worth the effort!

Thank you very much,

Uli Behringer

V-AMPIRE LX110

1. INTRODUCTION

Congratulations! With the V-AMPIRE, you have the newest

generation of guitar amps. It offers an extremely broad range of

options and possibilities, the only limit being your own imagination.

The V-AMPIRE LX110 is an all-rounder with so many features

that you hardly need any other equipment.

1.1 Before you get started

1.1.1 Shipment

Your V-AMPIRE was carefully packed at the factory, and the

packaging was designed to protect the unit from rough handling.

Nevertheless, we recommend that you carefully examine the

packaging and its contents for any signs of physical damage

that may have occurred during transit.

 If the unit is damaged, please do NOT return it to

BEHRINGER. Instead, notify your dealer and the

shipping company immediately. Otherwise, claims

for damage or replacement may not be honored.

 Always use the original packing carton to prevent

damage during storage or transport.

 Make sure that no children are left unsupervised

with the unit or its packaging.

 Please ensure proper disposal of all packing

materials.

1.1.2 Initial operation

Be sure that there is enough space around the unit for cooling.

To avoid overheating, please do not place the V-AMPIRE near

radiators and other equipment emanating heat.

 Please keep in mind that all the equipment has to

be grounded at all times. For your own protection,

never change or disable the grounding on your

equipment or on the cables! The unit must always

be connected to the mains outlet with a protective

earthing connection.

1. INTRODUCTION

1.1.3 Online registration

Please do remember to register your new BEHRINGER equipment

right after your purchase by visiting www.behringer.com

(alternatively www.behringer.de) and kindly read the terms and

conditions of our warranty carefully.

Should your BEHRINGER product malfunction, our goal is to have

it repaired as quickly as possible. To arrange for warranty service,

please contact the retailer from whom the equipment was

purchased. Should your BEHRINGER dealer not be located in

your vicinity, you may directly contact one of our subsidiaries.

Corresponding contact information is included in the original

equipment packaging (Global Contact Information/European

Contact Information). Should your country not be listed, please

contact the distributor nearest you. A list of distributors can be

found in the support area of our website (www.behringer.com/

support).

Registering your purchase and equipment with us helps us

process your repair claims quicker and more efficiently.

Thank you for your cooperation!

IMPORTANT NOTES CONCERNING

INSTALLATION

 The sound quality may diminish within the range of

powerful broadcasting stations and high-frequency

sources. Increase the distance between the

transmitter and the device and use shielded cables

for all connections.

WARNING!

 We would like to bring to your attention the fact that

extremely loud sound levels may damage your

hearing as well as your headphones. Please turn

the MASTER control all the way to the left before

powering up the unit. Keep the volume at an

appropriate level at all times.

V-AMPIRE LX110

2.1 Front panel

The GUITAR socket is the 1/4" connector for your guitar.

Please use a standard 1/4" TS connector.

The PHONES connector allows you to monitor the audio

signal with standard headphones (e.g. BEHRINGER

HP Series). This connector can also be used as a stereo

line output.

 Plugging in the headphones automatically mutes

the power amp signal. So, before pulling the

headphones connector from the socket, please turn

the MASTER control fully left.

The FOOTSWITCH jack is used to connect an FS112

footswitch for preset selection (UP/DOWN).

The FCV100 jack is used to connect an FCV100 expression

pedal (not included), which can control various functions

(effects parameters, wah-wah, volume, etc.).

 To assign a function to the pedal, press the TREBLE

and BASS button simultaneously (see and ).

Please read Chapter “6.3 Pedal Function” for more

information.

The CD/TAPE INPUT RCA inputs allow you to feed in an

additional stereo signal, for example, to play along to a

drum computer or music playback.

Use the MASTER control to adjust the overall volume of

the LX110.

 The MASTER control is not programmable, i.e. its

setting cannot be stored in a preset.

After pressing the TREBLE control you can use the ADJUST

control to raise or lower the high-frequency range.

Press and turn the control to change the frequency range

you are modifying. The TREBLE button lights up when this

function is active and flashes while you are editing its

settings.

After pressing the BASS control you can use the ADJUST

control to raise or lower the low-frequency range.

Press and turn the control to change the frequency range

you are modifying. The BASS button lights up when this

function is active, and flashes while you are editing its

settings.

 Press the TREBLE and BASS buttons simultaneously

to assign a specific function to the expression pedal

(the display shows “PA”). Please read Chapter

“6.3 Pedal Function” for more information.

Press the COMPR control to adjust the compressor.

ADJUST controls the sensitivity. Press and turn the

control to adjust the attack and release times. The COMPR

button lights up when this function is active and flashes

while you are editing its settings.

Chapter “6.1.3 Special Effects” explains in detail how the

compressor works.

Press the N-GATE button to adjust the noise gate. ADJUST

controls the sensitivity. Press and turn the control to

adjust the attack and release times. The N-GATE button

lights up when this function is active and flashes while

you are editing its settings.

Chapter “6.1.3 Special Effects” explains in detail how the

noise gate works.

 When you press the COMPR and N-GATE buttons

simultaneously, you can use the UP and DOWN

buttons to select a memory location for the preset

you are editing. Keep the COMPR and N-GATE

buttons pressed for a while to store the preset.

Please read Chapter “4. PRESETS” for more

information.

To select a preset (99 – 00, decremental), press the DOWN

button once quickly. Keep the button pressed to scroll

through the presets quickly.

To select a preset (00 – 99, incremental), press the UP

button once quickly. Keep the button pressed to scroll

through the presets quickly.

 Pressing the DOWN and UP buttons simultaneously

activates the TUNER mode of the V-AMPIRE. Press

either one of the two buttons to deactivate the

TUNER mode. Please read Chapter “7. TUNER” for

more information.

2. CONTROL ELEMENTS AND CONNECTORS

Fig 2.1: V-AMPIRE control elements (front view)

V-AMPIRE LX110

The DISPLAY shows the preset number or the selected

effects model. It also informs you about any parameter

changes while editing a preset. In TUNER mode, the

DISPLAY indicates the target note, while in calibration mode,

the calibration is shown in Hertz (Hz). The decimal points

start to flash when the V-AMPIRE signal is overloading.

The decimal points shine continuously when a 2

LAYER

AMP or FX model is active.

Fig. 2.2: The display of the V-AMPIRE

Status LEDs in the display:

EDIT: lights up when a preset has been edited but not yet

stored.

TAP SPEED: flashes to indicate the effect speed adjusted

with the TAP function for MODULATION and DELAY effects.

PEDAL SPEED: lights up when an effect speed parameter

has been assigned to the expression pedal.

PEDAL EFFECT: lights up when any other effect

parameter has been assigned to the expression pedal.

PEDAL VOLUME: lights up when the expression pedal

has been set to control the volume or gain setting.

PEDAL WAH: lights up when the WAH effect has been

assigned to the expression pedal and flashes when the

WAH is active. In Tuner mode, this LED shows the pitch of

the instrument.

TUNER LEDs: In Tuner mode, these 5 LEDs indicate the

pitch of the instrument (incl. PEDAL WAH LED).

In general, the ADJUST control is used to adjust the GAIN

settings of the presets and the effects parameters while

editing a preset. Press and turn the control to determine the

VOLUME settings and other effect parameters of the

presets. Effect speed parameters can be adjusted by

tapping the control several times (TAP). Additional

information on the individual control elements can be found

in Chapter “6. EFFECTS PROCESSOR”.

Next to the FX/AMPS control an LED shows the currently

selected AMP model. The 2

LAYER (PUSH) LED indicates

that it is an AMP model from the 2

LAYER (grey), otherwise

it is a 1

layer AMP model (black). Turn the control to select

a 1

layer AMP model/effect, press and turn the control to

select a 2

layer model.

 If one of the AMPS LEDs lights up (right half), use

the ADJUST control to set the GAIN or VOLUME.

 If one of the EFFECT LEDs lights up (left half), the

ADJUST control can be used to set the selected

effect parameter.

2. CONTROL ELEMENTS AND CONNECTORS

Press the DELAY button to adjust the DELAY effect. Delay

generates an echo-type delay of the input signal. The

FX/AMPS control selects a DELAY model. ADJUST

controls the effect intensity. Press and turn this control to

set the feedback level. The rhythm with which you tap the

ADJUST control determines the intervals between the

individual echoes (delay time). The DELAY button flashes

in edit mode and shines continuously when the effect is

active.

The delay effects are described in full detail in Chapter

“6.1.1 Delay Algorithms”.

Press the REVERB button to adjust the REVERB effect.

REVERB allows you to add a specific hall or room ambience

quality to the overall sound. Use the FX/AMPS control to

select one of four different reverb types: Ambience (2

LAYER LED flashes), Cathedral, Spring (2

LAYER LED

flashes) and Reverb. ADJUST determines the reverb

intensity (Mix). Press and turn this control to adjust the

decay time. The REVERB button LED flashes in edit mode

and shines continuously when the reverb effect is active.

The reverb types are described in full detail in Chapter

“6.2 Reverb”.

Press the MODUL(ulation) button to select one of eight

modulation effects with the FX/AMPS control: Chorus,

Flanger, Phaser, Pitch Bend, Tremolo, Rotary, Auto Wah

and P-Funk’n. The 2

layer effects (2

LAYER LED flashes)

can be accessed by simultaneously pressing and turning

this control. Depending on the selected modulation effect,

the ADJUST control determines either the effect intensity

(Mix) in the preset or the effect depth. Press and turn this

control to edit a second parameter which depends on the

effect selected. The speed parameter can be set by

pressing ADJUST (TAP). Use the UP and DOWN buttons to

selected different models within an effect. The MODUL

button flashes in edit mode and shines continuously when

the effect is active.

The modulation effects are described in full detail in Chapter

“6.1.2 Modulation Effects”.

 Press the DELAY and MODUL button simultaneously

to adjust the global input gain of the V-AMPIRE with

the ADJUST control. With particularly low or high-

level guitar signals set the control to the right or

left of its center position respectively. Use the UP

and DOWN buttons to activate an additional filter

preset for optimizing the sound. Both buttons flash

in edit mode.

 The modulation effects Auto Wah, Pitch Bend and

P-Funk’n cannot be used in combination with the

Wah-Wah effect. When either one of these three

effects has been selected while the pedal is

assigned to the Wah effect, the latter will be

deactivated (WAH LED goes out in the display).

 Assigning the expression pedal to the Wah effect

automatically disables the Auto Wah or Pitch Bend

effect, so that the modulation effects are no longer

active (all modulation effect LEDs go out).

Please see Chapter “10. APPENDIX” for a list of all functions.

V-AMPIRE LX110

4. PRESETS

2.2 Rear panel

Fig. 2.3: Operating elements of the V-AMPIRE (rear panel)

SERIAL NUMBER.

FUSE HOLDER/VOLTAGE SELECTOR. Before

connecting the unit to the mains, ensure that the voltage

setting matches your local voltage.

A blown fuse should only be replaced by a fuse of the

same type and rating. On some units, the fuse holder can

be switched to one of two positions, i.e. 230 V and 120 V.

Please note that when operating the unit outside Europe at

120 V, a higher fuse rating is required (see Chapter

“9. SPECIFICATIONS”).

The mains connection is on an IEC receptacle. A suitable

power cord is included with the unit.

Use the POWER switch to operate the V-AMPIRE. The

POWER switch should always be in the OFF position (out)

when connecting the unit to the mains.

 The POWER switch does not fully disconnect the

unit from the mains. To disconnect the unit from

the mains, pull out the mains connector. When

installing the product, ensure that the mains

connector has not been damaged. Unplug the power

cord completely when the unit is not used for long

period of time.

3. APPLICATION EXAMPLE

Fig. 3.1 shows an example of how to use the V-AMPIRE LX110.

When you connect headphones (thereby muting the speaker)

and a CD player or drum computer, you get an ideal setup for

practising at home.

Fig. 3.1: Practice setup

4. PRESETS

Your V-AMPIRE features 100 rewritable presets (00 – 99). After

power-up the last preset used is automatically recalled. Each

preset consists of a maximum of 6 “ingredients”:

V one amp simulation,

V pre-amp effects (noise gate, compressor, wah-wah),

V tunable treble and bass EQs,

V one modulation effect (e.g. phaser, chorus, etc.),

V one delay effect, and

V one reverb effect.

4.1 Editing presets

Editing presets on the V-AMPIRE is quick and easy, simply follow

the instructions below:

V First, determine the global gain by pressing the DELAY and

MODUL buttons simultaneously. Then use the ADJUST

control to set the gain. If required, use the UP and DOWN

buttons to activate an additional filter preset for optimizing

the basic sound. Press DELAY and MODUL again to quit

this menu.

V Select a preset with the UP and DOWN buttons.

V Then, select an amp model with the FX/AMP control. The

EDIT LED on the display lights up to indicate that you are

editing the preset.

V-AMPIRE LX110

5. AMP-/SPEAKER-SIMULATION

V Modify the basic sound with the treble and bass filter

functions. Press the respective function button and adjust

the setting with the ADJUST control (see Chapter

“2.1 Front Panel”).

V Select the pre-amp effect you wish to use by activating

the corresponding buttons (compressor, noise gate) and

edit the effect with the ADJUST control (see Chapter

“6.1.3 Special Effects”).

V Add a delay, reverb and/or modulation effect to your sound

by pressing the appropriate buttons and selecting the

effects with the FX/AMPS control. Use the ADJUST control

to edit various effect parameters (see Chapter “6. EFFECTS

PROCESSOR”).

V When you are satisfied with the settings, store the preset

by pressing COMPR and N-GATE (STORE) for more than 2

seconds. The EDIT LED goes out and the edited preset is

active. If you want to select a different memory location for

your preset, press COMPR and N-GATE briefly, so that the

two buttons start to flash. Now use the UP and DOWN

buttons to select a different memory location. Then press

COMPR and N-GATE for more than 2 seconds to finalize

the store process.

 If you select another preset while editing and

without saving the currently selected preset, all

changes that have been made so far will be

discarded.

4.2 Restoring the factory presets

You can restore the factory presets of your V-AMPIRE at any

time.

V When switching on the unit, hold down the DELAY and

MODUL buttons for more than 2 seconds. This will restore

all factory presets (“CL” flashes on the display).

5. AMP/SPEAKER SIMULATION

The very heart of your V-AMPIRE is its amp/speaker simulation.

The V-AMPIRE makes it a breeze for you to select one of the

legendary guitar amps, be it for Brit pop, blues, heavy metal or

whatever. In addition, you can tailor the sound of the respective

amp to suit your ideas. On top of all that, you can even choose

digital effect and reverb types for your virtual amp. Read Chapter

“6. EFFECTS PROCESSOR” for more details.

When your V-AMPIRE is switched on, it automatically activates

the last preset selected. The LED ring around the FX/AMPS control

shows what amp has been selected. The corresponding LED

lights up. Simply turn the control to select another amp.

To give you a better overview of the wide range of amp

simulations on the V-AMPIRE, we have compiled the following

descriptions of the different types of amps.

CLASSIC CLEAN: Back in the ’80s, the Roland JC-120 was the

preferred sound of Buzzy Feiten (guitarist with the Dave Weckl

Band). The unique quality of this transistor amp’s sound is the

way its brilliance cuts through any mix. It is ideal for the New

Wave sound of the ’80s that is making a come-back today. By

the way, the JC-120 was also popular among Fender Rhodes

pianists.

V-AMP CRUNCH: This amp is ideal for modern blues or jazz. Its

sound is not too subtle, but not in-your-face either—it’s crunchy,

that’s all.

BRITISH PLEXI: This amp model, created by leaning closely to a

’59 Marshall Plexi 100-Watt amp, is particularly well-suited for

creating clean sounds. The amp was used by Jimi Hendrix, Eric

Clapton and Jeff Beck.

BRIT CLASS A: This simulation is modeled on the Vox

AC 30. This amp was originally designed in the ’60s when

guitarists wanted amps with enhanced brilliance, a feature that

Vox successfully implemented by means of “revolutionary” bass

and treble controls. Brian May and U2’s The Edge are probably

the best-known users of this sound.

BRIT HI GAIN: Compare this model with a Marshall JCM 800.

Although the original was renowned mainly for its distorted

sounds, this amp also sounds very good with low gain settings.

It’s good at reproducing Steve Ray Vaughan’s and Michael

Landau’s sounds. In distortion mode it sounds like Gary Moore in

his early days, but it’s also good for heavy metal.

SAVAGE BEAST: Engl is well-known for amps that really cut

through. The Savage 120 in particular has built up a large

following among guitarists. For some time now Ritchie Black-

more has been a major endorser of this German company, and

Randy Hanson, the best Hendrix since Jimi, also swears by this

amp. The unique feature of the Savage is its extreme power and

is therefore highly popular with heavy metal guitarists. Silent

Force/Sinner guitarist Alex Beyrodt has been an enthusiastic

Engl user for years. An amp for making yourself heard!

NUMETAL GAIN: This model is based on a 1994 Mesa Boogie

Dual Rectifier Trem-O-Verb featuring a modern, high-gain sound

that also comes over well in a band context.

MODERN GAIN: Here, the tone control is post-gain, allowing the

extremely distorted sound to cut through the mix. The MODERN

HI GAIN sound is ideal for playing grunge, but is also used by

guitarists such as Steve Vai and Joe Satriani. Among others,

Steve Lukather, Nuno Bettencourt and Steve Vai have all

popularized the Soldano sound. If you’re playing a Gibson

Les Paul, MODERN HI GAIN sounds best when you turn down

the volume control on the guitar a little.

BLACK TWIN: This simulation was modeled on a Fender

Blackface Twin from 1965. In the ’60s this amp was used by

jazz, country and even rock guitarists. What was unique about

it was that it was exceptionally loud and was therefore mainly

used for live performances. The secret of the Blackface Twin

was that although you could play it extremely loud, the distortion

remained relatively low.

ULTIMATE GAIN: From clean to brutal hi-gain, this “brute” covers

the entire range. The ULTIMATE V-AMP is basically a souped-up

rectifier amp.

TWEED COMBO: This was Jeff Beck’s favorite when he recorded

the albums Blow by Blow and Wired. This amp was not actually

designed for heavy distortion, but owing to its low power, it is

ideal for uncompromising overdrive sound.

TWEED BASS: This virtual amp is modeled on the Fender

4 x 10 Combo. Originally designed as a bass amp, it soon became

a standard amp of blues legends such as Steve Ray Vaughan or

Billy Gibbons due to its characteristic distortion. As you would

expect, it packs a solid punch in the bass range, but is still

flexible enough in the mid and treble ranges.

SCREAMER: Having been around since the beginning of the

’80s, the Ibanez Tube Screamer TS808 has pretty much achieved

cult status. It has the reputation of being the ultimate classical

overdrive/treble booster floor pedal, and is associated with mighty

lead sounds, even though it offers rather modest distortion. Its

secret is that it “knows” better than other floor pedals how to

squeeze the very last bit out of the amp to which it is connected.

EL RATON: The Rat from ProCo was also a distortion pedal

similar to the tube screamer, and it also came around about the

same time, but its basic sound and applications couldn’t be more

different. As the name suggests, the Rat is all about aggressive

distortion from the pedal itself, and the TS808 is more about

unobtrusive overdrive in the amp further down the chain. With

the rat simulation, you have the metal sound of the early ’80s

totally covered.

V-AMPIRE LX110

AMP BYPASS: In this setting, no amp simulation is selected. This

makes it possible, for example, to play through an external guitar

preamp and only use the effects.

ACOUSTIC: A guitar with steel strings miked with a dynamic

microphone is simulated here. While piezo pickups have the

tendency to make the sound rather hard, using a mic makes the

sound much more evened-out. Of course, the feedback typical

for miking acoustic instruments is no longer an issue.

Engl, Fender, Gibson, Ibanez, Marshall, Mesa Boogie, Roland, Soldano, Vox ProCo, Tube Screamer,

The Rat as well the names of musicians and bands are registered trademarks of their respective

owners and are in no way associated with BEHRINGER. The brand names appearing here are

mentioned solely to describe the character of sounds and effects created in the V-AMPIRE.

6. EFFECTS PROCESSOR

A special feature of your V-AMPIRE is its built-in multi-effects

processor module offering 16 different groups of first-class

effects, such as chorus, flanger, delay, auto wah as well as

various combinations of effects. You can select one effect out

of each of the three effects blocks (modulation, delay and reverb).

 To synchronize speed-based effects with the

tempo of the music, tap the ADJUST (TAP) button at

least twice to the beat of the music.

6.1 Effect descriptions

The following section contains short descriptions of the effects

that you can use.

6.1.1 Delay algorithms

The delay effects can be modified by changing the following

3 parameters:

V by turning the ADJUST control (effect mix),

V by pressing and turning the ADJUST control (feedback),

and

V by pressing or tapping the ADJUST control to the beat of

the music (interval between echoes/delay time).

STEREO DELAY: This effect delays the input signal. Different

tempo settings let you create a wide array of delay effects. Be

experimental—try going from short to very long delays.

LONG ECHO: What’s so special about this delay effect is that

the repetition interval of the echoes is 50% longer than the time

interval measured between two taps on the ADJUST (TAP)

control. This way, you can create a frequently used echo effect

easily: if you tap and play in quarter-notes, the echoes are

positioned three eighths away. This effect can be best

demonstrated by U2’s guitarist The Edge.

SLAP ECHO: As the name suggests, a delay with a very short

repetition interval. The V-AMPIRE takes a half of the time interval

measured between the taps on ADJUST (TAP) while the echo

velocity doubles.

PING PONG: A delay effect that changes position in the stereo

image.

6.1.2 Modulation effects

When editing the modulation effects you can modify up to

4 parameters:

1. by turning the ADJUST control (depending on the effect,

this controls the effect intensity or the effect mix),

2. by pressing and turning the ADJUST control (second

parameter, see description of effects),

3. by pressing the UP and DOWN buttons to select various

effect models (1 – 4), and

4. by tapping the ADJUST control to the beat of the music

(modulation speed).

PHASER: The principle behind a phaser is that a second, phase-

shifted signal is added to the audio signal. This makes the sound

richer and, above all, livelier. This effect has been popular for

decades because it can be used to produce slightly modulating

or strongly alienating effects, regardless of what instrument

you are using. Two of the classic versions of this effect that we

simulate are the 4-level MXR Phase 90 (1) and the 12-level Boss

PH2 (4). Additionally, the V-AMPIRE offers 2 additional exceptional

versions of an 8-level (2) and a 10-level (3) phaser.

The second parameter controls resonance, the third controls

the phaser model (1 - 4).

PITCH BEND: The Digitech Whammy pedal and the PS-5 Super

Shifter from Boss are extremely well-liked effects which produce

an effect signal that is out of tune with the input signal. Models

1 - 4 offer the best pitch bend effects.

Use ADJUST to determine “mix”.

The PS-5 Super Shifter (1) generates a fixed interval of several

half-tones based on the source tone. When the T-Arm Simulation

(2) is used, this interval will be active only if the expression

pedal is fully pressed. The time that elapses before the interval is

reached can be determined by pressing the ADJUST (TAP) control

repeatedly.

With the Whammy effect (3), detuning depends on the position

of the pedal (pedal up = original tone pitch, pedal down = the

interval entered under (2)).

In contrast to the pitch shifter, the detune effect (4) creates a

modest out-of-tune interval that is only a fraction of a half-tone.

It sounds roughly like a permanently activated chorus.

The second parameter controls to what extent your tone detunes:

- for models 1 to 3 (-12/-7/-5/-3/+3/+4/+5/+7/+12 half-tones),

- for model 4 (-20 to +20% of a half-tone).

The third parameter lets you select between different effects

modules: pitch shift (1), T-Arm (2), Whammy (3) and detune (4).

 Since pitch bend effects 2 and 3 require the

expression pedal, other expression pedal functions,

such as Wah Wah, are automatically deactivated. In

this case, the pedal assign effect LED lights up.

TREMOLO: Simulates the classic Fender DeLuxe tremolo as

well as the Vox AC15 and Gate tremolo. Ever since Trip Hop

gained on importance, this volume modulation effect is totally in.

The second parameter controls the dependence of modulation

tempo on volume: loud input signal = quicker modulation, lower

input signal = slower modulation.

The third parameter lets you chose from different tremolo types:

Fender (1), Vox (2), Gate (3) and Panning (4).

ROTARY: This is the quintessential simulation of the classic organ

effect normally produced by speakers rotating at slow or fast

speed in an extremely heavy speaker cabinet. This effect uses

the physical principle of the Doppler effect to modulate the sound.

The second and the third parameters control the sounds

modulation.

FLANGER: This effect is self-explanatory. Originally the flanger

effect was produced by running two synchronized tape

recorders at the same time. The same signals (e.g. a guitar solo)

were recorded on both machines. By putting a finger on the left

reel of one of the machines, the reel and, consequently, the

playback slowed down. The resulting delay produced phase

shifts of the signals. Outstanding examples of this effect genre

are the Ultra Flanger on the BF-3 (1) and the classic BF-2 (2)

from Boss as well as the Flanger from MXR (3) and A/DA (4).

The second parameter controls the resonance (effect feed-

back to the input), and the third parameter selects the flanger

model (1 – 4).

6. EFFECTS PROCESSOR

V-AMPIRE LX110

CHORUS: This effect adds a slightly modulated off-key element

to the original signal, thus creating a pleasant floating effect

through variations in pitch. One of the most popular studio chorus

effects was the Tri Stereo Chorus, with its 12 (!) voices that are

modulated against each other. The V-AMPIRE offers you this

effect in two versions (1, 2), in addition to the 2 classic effects

Boss Chorus Ensemble CE-1 (3) and the Roland Dimension D (4).

The second parameter controls the modulation depth while the

UP and DOWN buttons are used to select the chorus model

(1 – 4). The modulation speed is set by pressing ADJUST (TAP).

High depth and speed values result in a clearly audible detuning

of the signal (off-key sound).

AUTO WAH: The American funk in the ’70s proved that auto

wah had many possible applications. Instead of regulating the

filter frequency with your foot, our effect regulates automatically

depending on the signal level. In doing so, our effect is similar to

the EHX MuTron III in the up position.

The ADJUST control determines the sensitivity.

The second parameter determines how quickly the filter is shifted;

the third parameter selects the effects block (1 - 4).

P-FUNK’N: This is our attempt at replicating the legendary MuTron

III, and we succeeded! The most famous user of this effect is

probably Bootsy Collins. The MuTron III had an up/down switch.

Our particular effect resembles the MuTron in the down position.

The ADJUST control determines the sensitivity.

The second parameter determines how quickly the filter is shifted,

while the third parameter determines the effects block (1 – 4).

6.1.3 Special effects

WAH WAH: The legendary Wah Wah effect owes its fame mainly

to Jimi Hendrix. To describe this effect would certainly be more

difficult than to simply suggest to listen to Hendrix using it on

“Voodoo Chile”.

 Wah Wah is not available when auto wah, P-Funk’n

or pitch bend are being used.

COMPRESSOR: Our simulation is based on the well-known MXR

Dyna Comp. A compressor limits the dynamic range of a signal

by reducing the signal level as soon as a pre-determined threshold

is exceeded. A compressor lets you achieve noticeable and

creative sound effects. The extent at which the compressor

kicks in is controlled with ADJUST, allowing you to achieve

apparent sustain. When ADJUST is turned all the way to the left,

the compressor function is deactivated.

The second parameter (attack) controls the amount of time that

the compressor needs to react, once the threshold has been

exceeded. If you set up a short attack time, the compressor will

react very fast.

NOISE GATE: Noise gates are used to remove or reduce

noise or other interference. Guitar signals in particular are very

sensitive to interference. Not only do guitarists often use high-

gain settings but guitar pickups can amplify unwanted

interference. This can be painfully obvious during breaks in the

music. And how does a noise gate work? It simply mutes the

signal during breaks, eliminating any interference at the same

time.

The ADJUST control determines when the noise gate starts

processing. This control allows you to suppress background

noise more or less pronouncedly. When ADJUST is turned all the

way to the left, the noise gate function is deactivated.

The second parameter (release) determines the time that the

noise gate remains open after it had fallen below the threshold.

Setting up a short release time means that the noise gate

suppresses the signal very soon after it detects noise.

6.2 Reverb

The reverb is still one of the most important effects used in a mix

or at a live event. BEHRINGER offers you four different reverb

programs, so that you can always find the reverb that best fits

the music style:

Ambience: a short room simulation without reverb tail.

Cathedral: a long, rich reverb, like in a cathedral.

Spring: the typical sound of a classic spring reverb.

Reverb: a universal, warm reverb simulating a concert hall.

ADJUST controls the reverb intensity, while the second parameter

determines decay.

6.3 Pedal function

Press the TREBLE and BASS buttons simultaneously to assign a

specific function to the expression pedal (the display shows

“PA”). At the same time, one of the right-hand LEDs on the display

starts to flash (speed, effect, volume, wah). If Pedal Assign is

active, simply edit the parameter of your choice to automatically

assign it to the expression pedal (the corresponding Assign LED

lights up). Press TREBLE and BASS again to confirm your

selection:

V SPEED: the pedal controls the SPEED parameter of a delay

or modulation effect (e.g. delay time).

V EFFECT: the pedal controls the first effect parameter

(depending on the effect used, this is the effect mix or

effect depth).

V VOLUME: the pedal controls the preset volume.

V WAH: the pedal controls the wah effect. You can also just

move the expression pedal to select the wah function.

 When the pedal function is activated, one parameter

is always assigned to the pedal.

 Auto Wah and/or Pitch Bend are disabled as long as

the Wah-Wah effect is assigned to the expression

pedal.

Press TREBLE and BASS a third time to confirm your selection

and quit the PEDAL menu.

6.3.1 FCV100 pedal calibration

Please follow the steps below to optimally adapt the pedal control

range of the FCV100:

V Hold down the BASS and TREBLE buttons for more than 2

seconds while switching on the unit to enter pedal

calibration mode.

V Press the pedal fully down. The display shows “PL” (Pedal

Low).

V Then, move the pedal fully up. The display shows “PU”

(Pedal Up). The calibration is now complete.

V To quit the pedal calibration mode, press the BASS and

TREBLE buttons simultaneously.

A/DA, Boss, DyTronics, Electro Harmonix (EHX), MXR, Digitech, Vox as well the names of

musicians and bands are registered trademarks of their respective owners and are in no way

associated with BEHRINGER. The brand names appearing here are mentioned solely to describe

the character of sounds and effects created in the V-AMPIRE.

6. EFFECTS PROCESSOR

V-AMPIRE LX110

8. INSTALLATION

7. TUNER

The built-in tuner can be switched on and off by pressing the UP

and DOWN buttons simultaneously. This switches the V-AMPIRE

to bypass mode.

7.1 Tuning your guitar

The chromatic tuner automatically recognizes the frequencies

of all the standard guitar notes. For the A string, this means a

frequency of 110 Hz. When you plug your guitar into the

V-AMPIRE and play an open string, the tuner will recognize and

display the note. Since the tuner uses an auto-chromatic scale,

it can also recognize semitones which are indicated with the flat

symbol “b” in the display.

However, it may happen, for example, that a note is displayed as

“A” but is actually slightly out of tune. This is shown by at least

one of the four LEDs at the bottom of the display lighting up. In

certain cases even two of the LEDs may light up indicating that

the pitch of the note played lies between the pitches represented

by the two LEDs. When the circular tuner LED in the middle lights

up, then the note played is in tune.

7.2 Setting reference pitch “A”

To give you maximum freedom when tuning your guitar, you can

change the preset reference pitch “A”. For clarity’s sake, let’s

look at this in more detail.

The so-called concert pitch “A” has been raised steadily over

time. For example, the tuning forks used by Bach, Händel or

Mozart resonated at 415, 420 or 421 Hz (oscillations per second).

Today’s orchestras tune to “A” at 444 Hz, and the Berlin

Philharmonic Orchestra lead the field with their own concert

pitch “A” at 447 Hz.

The reference “A” on your V-AMPIRE has been factory-

programmed at 440 Hz. If you are going to play with a big orchestra

that tune their instruments to a reference pitch of 444 Hz, you

will need a function that allows you to change your reference

pitch:

V Switch on the tuner by pressing the UP and DOWN buttons

simultaneously, then press and hold the ADJUST control to

enter the calibration mode: The display shows “40”, i.e. 440

Hz.

V Press and turn the ADJUST control to increment/decrement

the reference tone “A” by 15 Hz each. The display always

shows the last two digits of the basic tone, given that the

first digit is always “4” (“44” = 444 Hz, etc.).

V Release the ADJUST control to quit the calibration mode.

Any changes made are stored automatically. The remaining

strings of your guitar are now tuned on the basis of the

adjusted reference tone.

7.3 Tuner Bypass volume

In tuner mode, the ADJUST control adjusts the volume of the

guitar signal while tuning up. Turning the control fully left mutes

the signal.

8. INSTALLATION

The inputs of the BEHRINGER V-AMPIRE are on 1/4" TS

connectors. The headphones output is on a 1/4" TRS connector.

The CD/TAPE INPUT connectors are on unbalanced RCA jacks.

Fig. 8.1: 1/4" TS connector

Fig. 8.2: Headphones connector

Fig. 8.3: RCA cable

V-AMPIRE LX110

BEHRINGER constantly strives to maintain the highest quality standards.

Modifications may be made, if necessary, without prior notice. The

specifications and appearance of the equipment may therefore differ

from those listed or illustrated.

9. SPECIFICATIONS

INSTRUMENT INPUT

Type 1/4" TS connector, unbalanced

Input impedance approx. 1 MΩ

Max. input level +5 dBu

LINE/HEADPHONE OUTPUT

Type 1/4" TRS stereo connector, unbalanced

Output impedance approx. 50 Ω

Max. output level +18 dBu @ 10 kΩ / +21 dBm @ 100 Ω

AUX IN STEREO

Type 1/4" TRS stereo connector

Input impedance 4.7 kΩ

DIGITAL SIGNAL PROCESSING

Converter 24-bit Delta-Sigma, 64/128-times

oversampling

Dynamics A/D 100 dB @ preamp bypass

Dynamics D/A 95 dB

Sample rate 31.250 kHz

DSP 100 Mips

Delay time max. 1960 ms stereo

DISPLAY

Type 2-digit, 7-segment LED display

AMPLIFIER

Peak power 45 W / 4 Ω

INTERNAL SPEAKER

Type 10" BUGERA

Dual-Cone Full-Range,

10K50A4

Impedance 4 Ω

Load capacity 50 W (IEC)

POWER SUPPLY

Mains voltage U.S./Canada 120 V~, 60 Hz

China/Korea 220 V~, 50/60 Hz

Europe/U.K./

Australia 230 V~, 50 Hz

Japan 100 V~, 50/60 Hz

General

export model 120/230 V~, 50 - 60 Hz

Power consumption 66 W max.

Fuse 100 - 120 V~: T 2.5 A H 250 V

200 - 240 V~: T 1.25 A H 250 V

Mains connection Standard ICE receptacle

DIMENSIONS/WEIGHT

Dimensions

(H x W x D) 395 mm (15 1/2")

x 355 mm (14")

x 215 mm (8 1/2")

Weight ca. 8.2 kg (18 lbs.)

9. SPECIFICATIONS

V-AMPIRE LX110

10. APPENDIX

Operating element Function FX/AMP ADJUST

ADJUST

(Push + Hold)

ADJUST

(Tap)

UP/DOWN

TREBLE High EQ - boost/cut Filter frequency - -

BASS Bass EQ - boost/cut Filter frequency - -

COMPR Compressor - Sensitivity

Attack/

Release

N-GATE Noise Gate - Sensitivity

Attack/

Release

MASTER Output volume - - - - -

UP/DOWN Selects a preset - - - - Preset selectio

DELAY

Calls up delay

Selects a delay

effect

Mix Feedback Delay Time -

REVERB

Calls up reverb

Select a reverb

effect

Mix Decay Time - -

MODUL

Calls up

modulation

Selects a

modulation

effect

Mix or Depth

(depending on

effect)

2nd parameter

(depending on

effect)

Speed

Selection of

various effect

models

FX/AMP

Selects effects

and amp models

-----

UP + DOWN

Activates the

tuner

Tuner input

volume

Tuner calibration

(425 - 455 Hz)

TREBLE + BASS

Activates the

pedal function

-----

COMPR + N-GATE

Stores the

preset

----

Selects a

memory locatio

DELAY + MODUL

Global input

gain

Controls the

input gain

Selects a filter

preset

TREBLE + BASS

Selects pedal

calibration menu

during power-up

DELAY + MODUL

Restores the

factory presets

during power-up

The display shows "PU" or "PL"

The display shows "CL"

Key combinations

Power-up functions

Table 10.1: Overview of functions

10. APPENDIX

V-AMPIRE LX110

11. WARRANTY

§ 1 OTHER WARRANTY RIGHTS AND NATIONAL LAW

1. This warranty does not exclude or limit the buyer’s statutory

rights provided by national law, in particular, any such rights

against the seller that arise from a legally effective purchase

contract.

2. The warranty regulations mentioned herein are applicable

unless they constitute an infringement of national warranty law.

§ 2 ONLINE REGISTRATION

Please do remember to register your new BEHRINGER equipment

right after your purchase by visiting www.behringer.com

(alternatively www.behringer.de) and kindly read the terms and

conditions of our warranty carefully.

Registering your purchase and equipment with us helps us

process your repair claims quicker and more efficiently.

Thank you for your cooperation!

§ 3 WARRANTY

1. BEHRINGER (BEHRINGER International GmbH including all

BEHRINGER subsidiaries listed on the enclosed page, except

BEHRINGER Japan) warrants the mechanical and electronic

components of this product to be free of defects in material and

workmanship for a period of one (1) year* from the original date

of purchase, in accordance with the warranty regulations

described below. If the product shows any defects within the

specified warranty period that are not excluded from this

warranty as described under § 5, BEHRINGER shall, at its

discretion, either replace or repair the product using suitable

new or reconditioned parts. In the case that other parts are used

which constitute an improvement, BEHRINGER may, at its

discretion, charge the customer for the additional cost of these

parts.

2. If the warranty claim proves to be justified, the product will be

returned to the user freight prepaid.

3. Warranty claims other than those indicated above are expressly

excluded.

§ 4 RETURN AUTHORIZATION NUMBER

1. To obtain warranty service, the buyer (or his authorized dealer)

must call BEHRINGER (see enclosed list) during normal business

hours BEFORE returning the product. All inquiries must be

accompanied by a description of the problem. BEHRINGER will

then issue a return authorization number.

2. Subsequently, the product must be returned in its original

shipping carton, together with the return authorization number to

the address indicated by BEHRINGER.

3. Shipments without freight prepaid will not be accepted.

§ 5 WARRANTY REGULATIONS

1. Warranty services will be furnished only if the product is

accompanied by a copy of the original retail dealer’s invoice.

Any product deemed eligible for repair or replacement under the

terms of this warranty will be repaired or replaced.

2. If the product needs to be modified or adapted in order to

comply with applicable technical or safety standards on a national

or local level, in any country which is not the country for which

the product was originally developed and manufactured, this

modification/adaptation shall not be considered a defect in

materials or workmanship. The warranty does not cover any

such modification/adaptation, irrespective of whether it was

carried out properly or not. Under the terms of this warranty,

BEHRINGER shall not be held responsible for any cost resulting

from such a modification/adaptation.

3. Free inspections and maintenance/repair work are expressly

excluded from this warranty, in particular, if caused by improper

handling of the product by the user. This also applies to defects

caused by normal wear and tear, in particular, of faders,

crossfaders, potentiometers, keys/buttons, tubes, guitar strings,

illuminants and similar parts.

4. Damages/defects caused by the following conditions are not

covered by this warranty:

V improper handling, neglect or failure to operate the unit in

compliance with the instructions given in BEHRINGER user

or service manuals.

V connection or operation of the unit in any way that does

not comply with the technical or safety regulations

applicable in the country where the product is used.

V damages/defects caused by force majeure or any other

condition that is beyond the control of BEHRINGER.

5. Any repair or opening of the unit carried out by unauthorized

personnel (user included) will void the warranty.

6. If an inspection of the product by BEHRINGER shows that the

defect in question is not covered by the warranty, the inspection

costs are payable by the customer.

7. Products which do not meet the terms of this warranty will be

repaired exclusively at the buyer’s expense. BEHRINGER will

inform the buyer of any such circumstance. If the buyer fails to

submit a written repair order within 6 weeks after notification,

BEHRINGER will return the unit C.O.D. with a separate invoice

for freight and packing. Such costs will also be invoiced

separately when the buyer has sent in a written repair order.

§ 6 WARRANTY TRANSFERABILITY

This warranty is extended exclusively to the original buyer

(customer of retail dealer) and is not transferable to anyone

who may subsequently purchase this product. No other person

(retail dealer, etc.) shall be entitled to give any warranty promise

on behalf of BEHRINGER.

§ 7 CLAIM FOR DAMAGES

Failure of BEHRINGER to provide proper warranty service shall

not entitle the buyer to claim (consequential) damages. In no

event shall the liability of BEHRINGER exceed the invoiced value

of the product.

* Customers in the European Union please contact BEHRINGER

Germany Support for further details.

Technical specifications and appearance are subject to change without notice. The information contained herein is correct at the time

of printing. All trademarks (except BEHRINGER, the BEHRINGER logo and JUST LISTEN) mentioned belong to their respective owners

and are not affiliated with BEHRINGER.BEHRINGER accepts no liability for any loss which may be suffered by any person who relies

either wholly or in part upon any description, photograph or statement contained herein. Colors and specifications may vary slightly

from product. Products are sold through our authorized dealers only. Distributors and dealers are not agents of BEHRINGER and

have absolutely no authority to bind BEHRINGER by any express or implied undertaking or representation. No part of this manual may

be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording of any

kind, for any purpose, without the express written permission of BEHRINGER International GmbH.

BEHRINGER International GmbH,

Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Muenchheide II, Germany.

Tel. +49 2154 9206 0, Fax +49 2154 9206 4903

V-AMPIRE LX110

FEDERAL COMMUNICATIONS COMMISSION

COMPLIANCE INFORMATION

Responsible party name: BEHRINGER USA, Inc.

Address: 18912 North Creek Parkway, Suite 200 Bothell, WA 98011, USA

Phone/Fax No.: Phone: +1 425 672 0816,

Fax: +1 425 673 7647

hereby declares that the product

V-AMPIRE LX110

complies with the FCC rules as mentioned in the following paragraph:

This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to

part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference

when the equipment is operated in a commercial environment. This equipment generates, uses and can

radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may

cause harmful interference to radio communications.

Operation of this equipment in a residential area is likely to cause harmful interference in which case the user

will be required to correct the interference at his own expense.

Important information:

Changes or modifications to the equipment not expressly approved by BEHRINGER USA can void the user’s

authority to use the equipment.

Behringer V-AMPIRE LX110 User manual

Brand: Behringer

Model: V-AMPIRE LX110

Category: Audio amplifiers

Type: User manual

This manual is also suitable for

Download PDF

report

Behringer V-AMPIRE LX110 User manual

This manual is also suitable for

Behringer V-AMPIRE LX110 User manual

Related papers

Other documents